Tuesday, December 30, 2008

JB (MG Ramachandran) is a wealthy industrialist who decides to take a break at his Simla home away from business concerns. He lands there to find that his caretaker has rented his house to Geeta's (Saroja Devi)'s family, taken the rent and left for Kasi with his wife. His daughter Manorama and brother in law Nagesh are left in charge of the house and the guests. JB decides not to reveal his idenity and pretends to be a wealthy man, Balu, willing to pay rent for a place in the house. Nagesh takes the money and gives him JB's room. He keeps playing practical jokes on Geetha hand they keep clashing. She brings her friends who are on a trip to Simla and tries to drive JB from the house. After he gets the friends on his side, she gets angry and tells her parents to get her married to Asokan, a relative and an air force pilot. By the time Balu confesses his love for her, Geetha's engagement is already fixed. Asokan turns out to be a school friend of JB's but he also agrees to play along with the trick. Asokan discovers that Balu and Sarojadevi are actually in love with each other and steps aside. When Balu is finally revealed as JB, Geetha thinks that the wedding plans are yet another of Balu's practical jokes and tries to run away. He finds her and all misunderstandings are cleared. The two get married.

Friday, December 26, 2008

While the descen dents of Puratchi Thalaivar MGR are squabbling over his wealth, the house that he lived in during his early days lies in shambles. The late M.G. Ramachandran lived in a rented house on N S C Bose Road, Sowcarpet with his mother Sathyabhama and the family of his elder brother M G Chakrapani, before he made it big in the film world and then went on to become the chief minister. “After the release of Mandhiri Kumaari, the house owner suggested that MGR shift to a better place to accommodate more visi- tors and fans,” said Palani, an ardent fan of MGR, who lives near the house. Muthaliyar, who owned the building, later sold it. However, no one lives in the well-designed traditional house now. At present a portion of the place is used by a betel leaf trader. The wooden steps and beautiful ceilings of the building are ruined.“After he became the chief minister, he visited the house in 1984 during the heavy flood that affect ed Madras city. He distributed rice, dhothis, sarees and Rs 100 to each of his poor neighbours in the street,” Sreedhar said recalling MGR’s last visit.

It is 17th century Tamil Nadu. The Poligars are the rulers of the Madurai region. A prince is born with the umbilical cord wound around his neck. The court astrologer predicts disaster for the royal family persuading him to abandon the infant in the forest. The infant is rescued by the cobbler. He grows up to be Veeran who becomes commandant of the army and who gets married to a princess. The king of Madurai requests Veeran to rescue his kingdom from dacoits. While in madurai, Veeran falls in love with the court dancer who is also coveted by the king. The king executes Veeran. The two women die in sorrow. All three attain godhold and rise to heaven.

Ponnambalam (K Sarangapani) cheats his sister out of her property and kills her husband. She escapes the communal riots in Karachi during Partition and reaches Madras on the eve of Indian Independence along with her son, Nataraj (MG Ramachandran) and daughter, Leela (PK Saraswathi). Ponnambalam implicates Nataraj in a criminal case and has him jailed. He marries Leela who feigns insanity. Once out of jail, Nataraj takes revenge on Ponnambalam and is sent back to prison.

This is a film with a fascinating story behind it, but few are aware of it. En Thangai was a popular stage play by T. S. Natarajan (who came to be known as ‘En Thangai’ Natarajan). In a quirk of fate, Sivaji Ganesan, virtually unknown at that time, played the hero on stage, whereas it was MGR who played it in the movie!Around the same period, another play titled ‘Parasakthi’ was also making waves and noted writer-director of his day A. S. A. Sami was approached by some producers to make it into a film. Having watched both the plays which had a similar storyline — that of a brother’s undying love for his sister — Sami suggested that the plays could be merged and made into a film, but Natarajan who had by then become famous refused to even hear of it. Parasakthi had to wait for some more time to create history with Sivaji Ganesan as hero on screen.Initially, the then popular playback singer Tiruchi Loganathan was made to play the loving brother in En Thangai, directed by Telugu-Tamil filmmaker C. H. Narayanamurthi and M. K. R. Nambiar. After a few reels were shot, the director and the producers realised their hero was a better singer than actor, and halted production. Exit Loganathan!The search for a hero began. MGR met Nambiar, his good friend, and others connected with the production. Impressed with his enthusiasm to play the role, with which he had a personal equation, MGR was cast as the hero. The movie tells the story of a loving brother who sacrifices his all to look after his young, blind sister (E. V. Saroja) who puts up with the taunts and torture of her proud sister-in-law (Madhuri Devi).(MGR had a sister and soon after the family migrated from Sri Lanka to Kumbakonam following his father’s demise, the sister too passed away mainly because of lack of medical facilities. The loss of his baby sister left an indelible mark on MGR’s psyche. MGR lived the role of a caring brother on screen, which paved the way for the success of the film.)Narasimha Bharathi as a hen-pecked husband and the elder brother of the blind girl and M. G. Chakrapani as the father-in-law lent able support.Expectedly, the success of the film led to its being remade by the same team and Narayanamurthi in Telugu as Naa Chellelu.L. V. Prasad created history in Hindi cinema by remaking it as Choti Behn (1959), where the blind girl’s role was played by a young Nanda who soon rose to be a star. The loving brother’s role was played with great conviction by Balraj Sahni.Remembered for its emotion drenched storyline and MGR’s role as a loving brother, considered by critics as one of his best performances ever.

Wednesday, December 17, 2008

One of the founding fathers of the Renaissance of Tamil theatre Sankaradas Swamigal wrote a play 'Cymbeline' based on one of the lesser-known plays of William Shakespeare. Even though it had an interesting story line it did not prove popular, perhaps because of the foreign-sounding title, and remains a neglected work of Swamigal.In 1941 K. S. Narayana Iyengar, a noted Tamil film producer of his day and partner in Narayanan & Co, a popular production unit, showed interest in filming this play, thanks to his manager and right hand man, K. P. Varadachari. Hailing from Salem, Varadachari was deeply interested like most educated men of that era, in Western Literature and of course, Shakespeare. Accordingly, Iyengar launched the film under the title "Chaya", which was written by Varadachari.T. V. Kumudhini, singing actress of her day who made a mark in H. M. Reddi's "Maathru Bhoomi", was chosen to play the female lead. M. G. Ramachandran was fixed to play the hero.After his debut in Ellis R. Dungan's "Sathi Leelavathi" (1936), his career was rather dull with only supporting roles in mostly unsuccessful films. Inspite of his handsome looks and impressive physique and experience in Tamil theatre he could not make much progress and the first major break to play the hero came his way with "Chaya".To direct the film the well known Hindi filmmaker Nandlal Jaswantlal was fixed. A successful Hindi filmmaker of his day, he was brought to Madras by pioneer filmmaker K. Subramanyam to direct his brother K. Viswanathan's film "Kamadhenu" (1941) in which his niece 'Baby' Saroja, her mother Vatsala and father Vatsal (Viswanathan) played the major roles.Nandlal Jaswantlal had made a name even during the 1930s for his innovative style of filmmaking. During the period when lengthy takes were the order of the day he made waves with short 'takes' with some shots of less than five feet in length (running time 3 seconds!) which was then a novelty especially in South Indian Cinema. His early hits included "Prem Jogan" (1931), "Jeevan Saathi" (1939). In later years he made box office bonanzas like "Anarkali" (1953) and "Nagin"(1954).Shooting of "Chaya" began and Nandlal in his virulent visual style shot some sequences of MGR and Kumudhini riding horses in and around the famous Monroe Statue in Mount Road area, Madras. He insisted that they should be trained in horse riding on location and inspected the training sessions with a hawk's eye!For some reasons the director was not impressed with MGR's performance and wanted the hero to be replaced. Narayana Iyengar, Varadachari and S. Soundararajan (Tamil Nadu Talkies) who was also involved in this production, refused to oblige the director because Soundararajan felt the handsome hero had a bright future and had no intention of destroying it.However Jaswantlal was adamant threatening to walk out of the film, and reluctantly P. U. Chinnappa was brought in. Advertisements about the release of "Chaya" with Chinnappa were released, but somehow the producers felt the Bombay- based director had lost interest in the project and was eager to get back home. Consequently "Chaya" was closed down, never seeing the light of day again. It was a severe body blow for MGR and he had to wait another seven years before he played the hero again in "Rajakumari".However Varadachari did not give up his desire and ambition. After a lapse of some years he persuaded Soundararaja Iyengar to launch the movie. The Tamil Nadu Talkies boss had plans to make low budget films with new faces based on stories from Western lite

Ramu(MGR) is the cowardly one - the heir to all riches of Poonjolai jamin. He has been raised that way by his uncle Narendran(Nambiar). Ramu shivers at the very mention of his uncle's name and a whiplash is Narendran's favorite form of punishment. Narendran wants to get Ramu married to Leela(Saroja Devi) but she is turned off by his cowardice. Ilango(MGR) is a jobless young man, prone to pick a fight and for this reason, the cause of trouble for his mother. Circumstances lead to Ramu and Ilango taking each others' place. Ilango teaches a lesson to Narendran while Ramu learns the ways of the world.Nowadays, the theme of mixed identities invariably leads to comedies with the laughs being raised through the ways the look-alikes don't fit into their new environments. The 'fish out of water' scenario is the one most often used. But here the two MGRs fit into their new roles quite well. The fun is in the way the others around them react to the changes in them. Ilango taking the place of Ramu is easily the hands-down winner in this. The first instance where MGR slaps Nambiar is memorable and exhilarating with the reactions of Nambiar and Thangavelu perfectly conveying their surprise. Ofcourse the Naan Aanaiyittaal... song sequence is the pinnacle with MGR giving Nambiar a taste of his own medicine. The position of Ramu(in Ilango's place) is only marginally interesting as the listless romance with Rathna is the only major thing happening. Thankfully, the actions of Ilango are concentrated upon as he is wooed by Saroja Devi and hated by Nambiar and co. The revelation of the switch is handled neatly and the emotions of the heroines are not carried on for too long. But the subsequent story that digs into the pasts of the two look-alikes is confusing and extends the movie unnecessarily. One interesting thing to see in older movies in how well they stand up when watched today. Though Enga Veettu Pillai is undeniably entertaining even today, there do exist a few instances which stand out awkwardly. Special effects which make the dual roles possible don't compare favorably even to the effects in Uthama Puthiran. The subservient role of women is quite obvious in the way Saroja Devi, who is introduced as a 'modern' woman, gleefully accepts the demand of a dowry. The lament of Pandaribai about wanting to die at Nambiar's feet after he has slapped her and walked out is quite irritating. On the other hand, the fact that the entire meal that MGR has in the hotel costs only six Rupees is bound to make people who lived then sigh in nostalgia! Nagesh was a permanent feature in movies released during those times and is at hand here too. His mispronounciation of words is quite funny at several places and leads to many quick laughs. But the extended sequences, like the one where Thangavelu discovers his romance with his daughter, are a lot less funnier. MGR distinguishes well between the two roles though it is quite obvious he is more at ease as the brave Ilango. His strict adherence to his enduring 'good samaritan' image is obvious in the way he apologises before uttering a single lie to his mother and speaks out against dowry. Saroja Devi is more irritating than endearing with her attempts to be cute. Nambiar plays the role he has played to perfection in countless other MGR movies. Needless to say, the movie has some great songs. Kumari Pennin Ullathile... and Maandhoppu Kaavalkaara... are the melodious duets. Naan Aanaiyittaal... has enough political overtones that show how effectively MGR used the medium of cinema.

Parthiban (SA Natarajan), son of the royal priest, is crestfallen at not being made the army commandant. To get at the new commandant, Veeramohan (MG Ramachandran), he takes to crime, looting and robbing. The imbecile king has no control of the situation. His daughter Jeeva (G Shakunthala) loves Veeramohan. Meanhwhile the minister’s daughter, Amudavalli (Madhuri Devi) grows fond of Parthiban not knowing about his evil side. When she finds out, she tries to reform him. To get rid of her, parthiban takes her to a mountain peak and threatens to push her down. However, she outwits him and kills him instead. She announces his death in the court, only to be killed by the royal priest.

Prince Udaya Suriyan (MG Ramachandran) of Kaveripattinam wins the hand of Princess Kalamalini (Anjali Devi) of Maruda Nadu in a swayamvar by defeating the Maruda general Bhairavan ( PS Veerappa). Bhairavan plots with Durga (S Varalakshmi), who is Kalamalini's best friend and who also loves Udayan to help him get Kalamalini. The plot is to abduct the princess with Durga taking her place. Udayan, however, spots the deception. Kalamalini escapes from the clutches of Bhairavan and returns to the palace, disguised as a dancer. Finally all's well that ends well as she is re-united with Udayan.

Sunday, December 7, 2008

In 1956 Mahadevi was being produced. Kannadasasn wrote a song for a park situation. The kathali would wait for a long time and sleep off. The kathalan would come later and rubs her face gently to wake her up. She wakes up to her shock. Then the song goes. "Naanandri Yaar varuvaar. Ilam Nangai Unai veru Yaar thoduvaar" MGR did not like this song. So Kannadasan replaced it with "Kan Moodum Velayilum kalai enne kalaiye". Kannadasan was wild with MGR. Several other pressures forced him to produce his own film. Two years later in 1958 he took Malayitta Mangai in which he created the same situation and made TR Mahalingam and Mynavathi to act out the song mentioned above. TR Mahalingam made a personal request to Visvanathan Ramamoorthy. People used to believe that TRMahalingam could only sing high pitch songs. He asked for the the lowest possible pitch in the song. Thats how the song became the lowest pitch song of TRM.

T. A. Mathuram promoted a movie company named after husband N. S. Krishnan, mainly to generate money, and a film Paithiakaaran (Madman), based on her troupe’s successful play of the same title, was launched. Written by S. V. Sahasranamam, it drew inspiration from the V. Shantaram classic Duniya Na Mane. The film dealt with socially reformist issues such as remarriage of young widows, elderly father objecting to the widowed daughter remarrying while he marries a young woman as soon as his first wife dies and the young bride refusing to be his wife preferring to treat him as a father, which were ideas ahead of time in Tamil cinema. N. S. Krishnan entered the film while it was under production after serving a 30-month prison sentence following the sensational Lakshmikantham Murder Case. A character was created for him, and Mathuram played a dual role as Valli (teaming up with NSK) and as the heroine. He remained his cheerful, humorous self, cracking jokes and evoking laughter even in prison. Indeed, he had rendered a satirical number about his jail sojourn in ‘Madman’ (that’s how the film was commonly referred to). The song ‘Jailukku Poi Vantha…’, which he sang in his usual breezy style, proved popular and is the only feature of the film that is remembered to this day! In this song, NSK highlighted life in prison, the kinds of prisoners, the good, the bad and the ugly, and how one need not worry about where one’s next meal comes from! A popular song by Kavimani Desigavinayakam Pillai, ‘Paattukkoru Pulavan Bharathiyada…’, was used in the film in a dance sequence enacted by T. A. Jayalakshmi (heroine of AVM’s Naam Iruvar) and two others. NSK’s fame grew after this release and he had a bright innings as director, producer and political enthusiast, soon emerging as a cult figure. Krishnan-Panju directed the film and Sahasranamam told this writer that many scenes featuring MGR who played a supportive role, were directed by NSK himself. Sahasranamam, a socially conscious person, formed his own troupe and staged plays conveying reformist messages. Paithiakaaran was one such early effort of his. The play staged at the famous, but now non-existent, Wall Tax Theatre (known to local Tamils as ‘Othavaadai Kootthu Kotta’!) became a success after T. A. Mathuram came out of a self-imposed exile following NSK’s imprisonment and played the lead role. Her mere presence made the play a box-office success. It was then the decision to make it into a movie was taken. The sadly forgotten South Indian film pioneer S. Soundararajan (Tamil Nadu Talkies) financed the venture mainly because of his friendship with Krishnan-Mathuram. Remembered for: Being the successful comeback vehicle of N. S. Krishnan after his release from prison, his famous song about life in prison, and the film’s socially reformist theme.

A courtesan (Anjali Devi) comes to a palace and gets involved with the king (Serukalathur Sama), plotting to kill him and usurp the throne. The king survives the assassination attempt and flees. He returns, disguised as a sage and tales a position in her court. His son Karikalan (MG Ramachandran), saved by the commandant, grows up as Robin Hood type of do-gooder, protector of the oppressed and who organizez them against the courtesan. After much royal intrigue and sword play, the sage exposes the courtesan in front of the people. She dies of shock while the prince marries the commandant’s daughter (Madhuri Devi).

Tuesday, December 2, 2008

Around 1946 Jupiter Somu asked A. S. A. Sami to develop a screenplay which he could direct himself. Sami worked on a folklore story into which he wove many elements of popular appeal...Arabian Nights… The Invisible Man… other folk tales of our own land, he wove them all into a screen story. When Somu had made it clear to Sami that as he was raw and untried talent as a director, he would have to work only with artistes on Jupiter's monthly roles and not the big names with high price tags. But, much to Sami's surprise the Jupiter boss came out with other ideas after he had read the screenplay. He felt it was too good to be made with small fry studio staff artistes. For the hero and heroine he suggested P. U. Chinnappa and T. R. Rajakumari, big names of the day. In fact, Somu gave the name of that actress for the title of the proposed film 'Rajakumari'!After some effort Sami persuaded his boss to let him make the picture as decided earlier with small artistes. To play the title role Malathi was chosen. An import from the Telugu screen pretty Malathi was a Vauhini product who had made her name in B. N. Reddi's classic 'Sumangali'. A protegee of K. V. Reddi, she had acted in Jupiter's 'Sri Murugan' as Parvathi with MGR as Shiva.

Who would play the hero? One man, on the studio rolls appeared to a possible choice. He had good physique, and handsome, athletic in movement. His classical dance number in 'Sri Murugan' had impressed many especially Sami. After much hesitation he was fixed to play the lead. The actor was M. G. Ramachandran, a great moment, not only in his life but also Indian Film History.

The producer had planned 'Rajakumari' as an 11,000- feet picture, and after about 7000 feet were shot, nobody was impressed. To Sami's shock, S. K. Mohideen suggested seriously to his partner Somu, that the picture be abandoned! Somu was caught in a dilemma. If the picture were abandoned the future of Sami and MGR would be ruined. Only another 4000 feet were to be made and if the final product was still bad it could be burnt once and for all. Jupiter Somu, an enterprising man, gave his okay to Sami to go ahead who had a couple of interesting, amusing experiences in the making of this picture.

One was with Thavamani Devi who had a dress (designed by her!) so lowed in front that it caused ripples on the set!The Sri Lankan charmer Thavamani Devi was cast as the vamp and to play a villain, another new man was brought in, an athletic gymnast and milk-vendor who would in later years create history in Indian cinema as one of the most successful producers of the country, M. M. A. Chinnappa Thevar, a legend in Indian Cinema.Nambiar, Balaiah, and Swaminathan, and 'Pulimoottai' Ramaswami gave good support.'Rajakumari' was released in 1947 and much to the surprise of Mohideen turned to be a big success! Cheaply made the profits were huge. Sami made a mark, and MGR was atlast a movie hero. The beginning of an astonishingly, amazing career of incredible success, a life of grand achievement that would be discussed for years to come.